South London Gallery, 65-67 Peckham Road, London, SE5 8UH
‘Last Seen Entering the Biltmore' is a show that explores the possibilities and interferences created by piercing through that imaginary wall that separates the stage from the backstage. Review by Francesca Cavallo.
Cooper Gallery, Duncan of Jordanstone College of Art & Design, 13 Perth Road, Dundee DD1 4HT
Studio Jamming is the first discursive survey of grassroots initiatives that form a corner stone to the achievements of contemporary art in Scotland. Review by Alex Hetherington
Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR
In The Agony of Power Baudrillard asserts that the demise of the radical left in 1968 can be situated in a double refusal to be dominated or to dominate through power structures. The desire for autonomy from the bonding of a life in the production of capital, fractured into a bricolage of ideologies that saw the traditional modes of resistance transmute into the spectacle of violent acts by political agencies such as the Red Army Faction in Western Germany.
Kunstraum, Gorsuch Street, London, E2 8HD
For Zin Taylor’s first solo show in the UK the Canadian-born Belgium-based artist has produced a new series of works on paper that incorporate thick marker pen lines, clippings from the artist’s archives, naïve pencil sketches and cuts of cured snakeskin. Review by Beth Bramich.
firstsite, Lewis Gardens, High Street, Colchester, Essex, CO1 1JH
The exhibition 'Sculpture, Painting, Photography, Film' draws together a wealth of archival material surrounding Bruce McLean’s early conceptual works and experiments with sculpture. Review by Elizabeth Holdsworth.
Lisson Gallery, 52-54 Bell St, London NW1 5DA
For his third solo exhibition with Lisson Gallery, Ai Weiwei has created a monumental new installation of bicycles as part of an ongoing series, ‘Forever’, as well as a number of hand-carved, domestic-scale copies – in various materials including wood, stainless steel and crystal – of some highly personal objects.